In Conversation with Larry Warsh

JL
What was it that first drew you to collecting in general, and when did that evolve specifically into collecting art?

LW
I grew up in a family of collectors and many of my family members collected art. The concept of collecting was an early influence for me, and I was exposed to diverse art forms from a young age. I was surrounded by collecting enthusiasts and I was always interested in seeing art. I began my interest in collecting with antiques and collectibles from markets around Manhattan.

JL
What is your collecting philosophy? Do you typically look for pieces related to a specific time period, medium or artist? Do you operate more on instinct? Or is it some combination of both?

LW
My collecting philosophy evolved while I was living in downtown Manhattan during the 1980s. I was immersed in the art of the era, which is now the art of our time and quite historical, which happened to be the start of it all. Hanging out downtown exposed me to the energy of the artists at that time. That era provided a real-time understanding of the artists and creatives who worked downtown and went on to become some of the most important figures of their generation.

The foundation of my collecting path has been guided entirely by instinct and my personal absorption of what was happening, an understanding of where I was, and a sense of the creative people around me. That led to the start of my targeted collecting, which led to a voracious compulsive appetite for many of the artists from that specific era in downtown NYC, including Haring, Basquiat, Scharf, and others.

That early collecting focus eventually led to my understanding of other important artists of the 1990s and contemporary Chinese art in particular as a last bastion of contemporary art in China, including Ai Weiwei and other top artists in Asia. It was obvious to me the significance of their work in relation to the historical period.

JL
You’re known for breaking down the barriers between “traditional” art and other creative industries and technologies, including the No More Rulers project. What is your advice for someone looking to create a meaningful collection in today’s digital landscape?

LW
The digital landscape allows us to encounter and discover art in a compressed format, which is an incredible aspect of our contemporary life. For my part, however, I am still keen to behold art directly and meet with artists to understand their creative process (and visit their studios whenever possible). The NMR concept was born out of this direct engagement with artists, and my desire to expand upon these relationships with artists has naturally led to connections among the wider creative and technological industries.

There is so much available to this younger generation of artists. NMR is a platform designed to bolster connectivity and inspiration, to help define artists with music and the creative mindset, blending them together.

JL
You’ve said before that it often takes time to fully appreciate the importance and historical context of a work of art. How do you allow for that time in a collecting culture that often prioritizes short-term gratification or returns?

LW
The only way to “allow for that time” is to do just that: follow your passion and sensibilities for art and support the artists that inspire you. The rest is up to the passage of years that determine these historical contexts. Collectors must develop their own sense of these things, and ultimately our global culture will solidify the importance of certain artists and their work in due course.

JL
Is there a piece you’ve acquired this year that you’re especially excited about?

LW
I am always excited about the artworks in my collection, and these objects inform my day-to-day reality in the most fascinating ways. During this past year I have been focused on the work of Esther Mahlangu. She is a living legend of her generation, now into her later 80s and still painting in her home village in South Africa. There is no doubt that Esther Mahlangu is an asset to the canon of art history. It is an honor to collect the work of a woman artist who is so boldly and beautifully defining contemporary African art now and for generations to come.